劇情縱覽
導(dǎo)演:暫無內(nèi)容?暫無內(nèi)容?暫無內(nèi)容??
導(dǎo)演:暫無內(nèi)容?暫無內(nèi)容?暫無內(nèi)容??
瑪拉(裴淳華 Rosamund Pike 飾)經(jīng)營著一家監(jiān)護人公司,她專門尋找身體情況欠佳同時又無依無靠的老年人下手,通過并不是那么合法的手段令自己成為他們的法定監(jiān)護人,將他們送進療養(yǎng)院,之后便可接手和變賣他們的財產(chǎn)和房產(chǎn),再將所得據(jù)為己有?! ∧橙?,瑪拉將下一個“吞噬”的目標(biāo)放在了一位名叫珍妮弗(黛安娜·維斯特 Dianne Wiest 飾)的老太太身上,經(jīng)調(diào)查,珍妮弗沒有任何的親人,同時又擁有著價值不菲的遺產(chǎn),簡直就是他們的最佳“肥羊”。在一番操作之后,珍妮弗被沒收手機關(guān)進了療養(yǎng)院,但此時的瑪拉和她的戀人兼合伙人弗蘭(艾莎·岡薩雷斯 Eiza González 飾)并不知道的是,她們?nèi)巧狭艘粋€不該惹,也不能惹的人。
Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present. Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.
高野任職園境建筑師,規(guī)劃澀谷宮下公園重建;露宿者被驅(qū)趕,讓路予結(jié)合戶外休憩與購物商場的新地標(biāo)。為了工作犧牲家庭,大刀闊斧改造都市面貌,自己卻家破人亡了。十年后,一盆蝴蝶蘭令父子重遇,女兒已不再在乎長期缺席的父親。重回故地,親子關(guān)系能否重建?團冢唯我首部長片,善用建筑空間顯現(xiàn)家庭創(chuàng)傷,靜謐中蘊藏情感波動,再以破碎燈泡讓記憶回魂。被離棄的世代游走于冷漠城市,重新審視家人之間的距離之余,亦察看一座城市于急速變形下殘留的空洞。
2008年金融危機下,美國內(nèi)華達(dá)州昂皮爾小鎮(zhèn)的重要經(jīng)濟支柱石膏廠倒閉,人去鎮(zhèn)空,這里的郵政編碼也被取消。丈夫去世后,幾乎在在昂皮爾小鎮(zhèn)度過了一生的弗恩(弗蘭西斯·麥克多蒙德飾)無力獨撐生活。為了將生活成本壓到最低,她將簡陋的家當(dāng)搬上了改裝后的廂式貨車,開始了一邊打工、一邊西行的公路生活。她在亞馬遜流水線上、在游樂園的咖啡廳里、在國家森林公園做臨時工。一路上,她和許多廂式貨車寄居者相遇、相識,彼此幫助,并締結(jié)了友誼。